Edwardian musical comedy is a genre of British musical theatre that thrived from 1892 into the 1920s, extending beyond the reign of King Edward VII in both directions. It began to dominate the English musical stage, and even the American musical theatre, when the Gilbert and Sullivan operas' dominance had ended, until the rise of American musicals by Jerome Kern, Rodgers and Hart, George Gershwin and Cole Porter following the First World War.
Between In Town in 1892 and The Maid of the Mountains , premiering in 1917, this new style of musical theatre proliferated across the musical stages of Britain and the rest of the English-speaking world. The popularity of In Town and A Gaiety Girl (1893), led to an astonishing number of hits over the next three decades, into the 1920s, the most successful of which included The Shop Girl (1894), The Geisha (1896), Florodora (1899), A Chinese Honeymoon (1901), The Earl and the Girl (1903), The Arcadians (1909), Our Miss Gibbs (1909), The Quaker Girl (1910), Betty (1914), Chu Chin Chow (1916) and The Maid of the Mountains (1917).
Edwardian musical comedy began in the last decade of the Victorian era and captured the optimism, energy and good humour of the new century and the Edwardian era, as well as providing comfort to audiences seeking light entertainment during the First World War. The Gaiety Theatre's well-loved but racy burlesques were coming to the end of their popularity, and so was the phenomenally successful series of family-friendly Gilbert and Sullivan operas. These two genres had dominated the musical stage in English-speaking countries since the 1870s. A few lighter, more romantic comic operas, beginning with Dorothy (1886) found success and showed that audiences wanted something lighter than operetta, but more coherent in construction than burlesque, that featured the modern fashions and culture of the day. [1]
The father of the Edwardian musical was George "The Guv'nor" Edwardes. He took over London's Gaiety Theatre in the 1880s and, at first, improved the quality of the Gaiety Theatre's earlier burlesques. Perceiving that their time had passed, he experimented with a modern-dress, family-friendly musical theatre style, with breezy, popular songs, snappy, romantic banter, and stylish spectacle. These drew on the traditions of Savoy opera and also used elements of burlesque and of Americans Harrigan and Hart. Their plots were simple, and they included elaborate displays of contemporary fashion and settings, and lighthearted parody of modern social convention and topical issues. [2] He replaced the bawdy women of burlesque with his "respectable" corps of dancing, singing Gaiety Girls who wore the latest fashions, and also showed off their bodies in chorus lines and bathing attire, as well as singing, to complete the musical and visual fun. These shows were immediately widely copied at other London theatres and then in America. [1]
The first Edwardian musical comedy was In Town in 1892. Its success, together with the even greater sensation of A Gaiety Girl in 1893, confirmed Edwardes on the path he was taking. [3] [4] These "musical comedies", as he called them, revolutionized the London stage and set the tone for the next three decades. [1] According to musical theatre writer Andrew Lamb, "The British Empire and America began to fall for the appeal of the [Edwardian] musical comedy from the time when A Gaiety Girl was taken on a world tour in 1894." [5]
Edwardes' early Gaiety hits included a series of light, romantic "poor maiden loves aristocrat and wins him against all odds" shows, usually with the word "Girl" in the title. After A Gaiety Girl came The Shop Girl (1894), The Circus Girl (1896) and A Runaway Girl (1898) and eleven other "girl" musicals followed. [6] The heroines were independent young women who often earned their own livings. The stories followed a familiar plot line – a chorus girl breaks into high society or a shop girl makes a good marriage to a wealthy aristocrat (who is often in disguise). There was always a misunderstanding during act one and an engagement at the end. [7] In the words of a contemporary review, Edwardes’ musicals were "Light, bright and enjoyable." Later Gaiety Theatre "girl" musicals included The Orchid (1903), The Spring Chicken (1905), The Girls of Gottenberg (1907), Our Miss Gibbs (1909), The Sunshine Girl (1912) and The Girl on the Film (1913). [4] Perhaps to balance the "girl" musicals, the Gaiety also presented a series of what could be described as "boy" musicals, such as The Messenger Boy (1900), The Toreador (1901), The New Aladdin (1906) and Theodore and Co. (1916). Edwardes expanded his empire to other theatres and presented slightly more complex comedy hits beginning with An Artist's Model (1895). The Geisha (1896) and San Toy (1899) each ran for more than two years and found great international success, capitalizing on the British craze for all things oriental. [8] Other Edwardes hits included The Girl from Kays (1902), The Earl and the Girl (1903) and The Quaker Girl (1910).
The chief glories of Edwardian musical comedies lie in their musical scores. At their best, these combined the delicacy and sophistication of operetta with the robust tunefulness of the music hall. The major composers of the genre were Sidney Jones ( The Geisha ), Ivan Caryll ( Our Miss Gibbs ), Lionel Monckton ( The Quaker Girl ), Howard Talbot ( A Chinese Honeymoon ), Leslie Stuart ( Florodora ) and Paul Rubens ( Miss Hook of Holland ). Scores were constantly refreshed with "additional" or "specialty" numbers and re-arranged, often by several different composers and lyricists, to keep audiences coming back. Important writers included Adrian Ross, Harry Greenbank, Percy Greenbank, Owen Hall, Charles H. Taylor and Oscar Asche. Generally, the book, lyrics and music were each written by different people, which was a first for the musical stage, although now this is the usual way of doing things. Adrian Ross wrote the lyrics for well over 50 Edwardian musicals.[ citation needed ]
Besides Edwardes, American producer Charles Frohman and actor-managers like Seymour Hicks, Robert Evett and George Grossmith, Jr. were responsible for many of these shows. The musicals were frequently built around a resident company of artists, and the greatest stars of the era included actresses Marie Tempest, Gertie Millar, Lily Elsie, Ellaline Terriss and Phyllis Dare, leading men such as Hayden Coffin and Harry Grattan, and comics such as Rutland Barrington, George Grossmith, Jr., Huntley Wright and Edmund Payne. One critic wrote of Joseph Coyne that, like other stars of musical comedy, "It is no good their pretending to be any one else. We go to see themselves, and all we ask is that the authors and others shall give them every chance of being themselves in the most pronounced and personal fashion". [9]
The Arcadians is generally regarded as the masterpiece of the genre. [10] The composers were Monckton and Talbot, both at the height of their powers. The story, about the havoc wreaked when truth-telling Arcadians arrive in corrupt London, neatly parallels the position of Edwardian musical comedies in theatrical history, with operetta-singing Arcadians, representing the past, meeting with music hall-singing Londoners, representing the future. This is an example of a common feature of shows of this period: sophistication with a common touch.
Florodora (1899) by Leslie Stuart and Paul Rubens made a splash on both sides of the Atlantic, as did A Chinese Honeymoon (1901), by British lyricist George Dance and American-born composer Howard Talbot, which ran for a record setting 1,074 performances in London and 376 in New York. The story concerns couples who honeymoon in China and inadvertently break the kissing laws (shades of The Mikado ). Later enormously popular hits included Chu Chin Chow (1916), which ran for 2,238 performances (more than twice as many as any previous musical), [11] [12] Theodore & Co (1916), The Boy (1917), Yes, Uncle! (1917) and The Maid of the Mountains (1917, the second longest-running Edwardian musical, with 1,352 performances). Audiences wanted light and uplifting entertainment during the war, and these shows delivered it. [13]
George M. Cohan's sentimental Little Nellie Kelly (1922) was considered a late example of Edwardian musical comedy. [14]
Lionel John Alexander Monckton was an English composer of musical theatre. He became Britain's most popular composer of Edwardian musical comedy in the early years of the 20th century.
James Sidney Jones, usually credited as Sidney Jones, was an English conductor and composer, who was most famous for composing the musical scores for a series of musical comedy hits in the late Victorian and Edwardian periods. Jones's most famous musical was The Geisha, but several of his pieces were among the most popular shows of the era, enjoying long runs, international tours and revivals.
The Geisha, a story of a tea house is an Edwardian musical comedy in two acts. The score was composed by Sidney Jones to a libretto by Owen Hall, with lyrics by Harry Greenbank. Additional songs were written by Lionel Monckton and James Philp.
Harry Greenbank was an English writer and dramatist best known for contributing lyrics to the successful series of musicals produced at Daly's Theatre by George Edwardes in the 1890s.
Arthur Reed Ropes, better known under the pseudonym Adrian Ross, was a prolific writer of lyrics, contributing songs to more than sixty British musical comedies in the late 19th and early 20th centuries. He was the most important lyricist of the British stage during a career that spanned five decades. At a time when few shows had long runs, nineteen of his West End shows ran for over 400 performances.
Félix Marie Henri Tilkin, better known by his pen name Ivan Caryll, was a Belgian-born composer of operettas and Edwardian musical comedies in the English language, who made his career in London and later New York. He composed some forty musical comedies and operettas.
George Joseph Edwardes was an English theatre manager and producer of Irish ancestry who brought a new era in musical theatre to the British stage and beyond.
Sir Edward Seymour Hicks, better known as Seymour Hicks, was a British actor, music hall performer, playwright, actor-manager and producer. He became known, early in his career, for writing, starring in and producing Edwardian musical comedy, often together with his famous wife, Ellaline Terriss. His most famous acting role was that of Ebenezer Scrooge in Charles Dickens's A Christmas Carol.
The Gaiety Theatre was a West End theatre in London, located on Aldwych at the eastern end of the Strand. The theatre was first established as the Strand Musick Hall in 1864 on the former site of the Lyceum Theatre. In 1868, it became known as the Gaiety Theatre and was, at first, known for music hall and then for musical burlesque, pantomime and operetta performances. From 1868 to the 1890s, it had a major influence on the development of modern musical comedy.
Frank Osmond Carr, known as F. Osmond Carr, was an English composer who wrote the music for several Victorian burlesques before turning to the new genre of Edwardian musical comedy, and also composing some comic operas. He often worked with the lyricist Adrian Ross, and several of his pieces were created for the producer George Edwardes.
Howard Munkittrick, better known as Howard Talbot, was an American-born, English-raised conductor and composer of Irish descent. He was best known for writing the music to several hit Edwardian musical comedies, including A Chinese Honeymoon, The Arcadians and The Boy, as well as a number of other successful British musicals during the first two decades of the 20th century.
Robert Evett was an English singer, actor, theatre manager and producer. He was best known as a leading man in Edwardian musical comedies and later managed the George Edwardes theatrical empire.
In Town is a musical comedy written by Adrian Ross and James T. Tanner, with music by F. Osmond Carr and lyrics by Ross. The plot of In Town, though thin, is a smart tale of backstage and society intrigue. One of the popular songs from the show was "The Man About Town".
Robert Courtneidge was a British theatrical manager-producer and playwright. He is best remembered as the co-author of the light opera Tom Jones (1907) and the producer of The Arcadians (1909). He was the father of the actress Cicely Courtneidge, who played in many of his early 20th century productions.
Margaret Florence Greig, known by her stage name Florence St. John, was an English singer and actress of the late Victorian and Edwardian eras famous for her roles in operetta, musical burlesque, music hall, opera and, later, comic plays.
Caroline Maria Lupton, known professionally as Marie Studholme, was an English actress and singer of the Victorian and Edwardian eras, known for her supporting and sometimes starring roles in Edwardian musical comedy. Her attractive features made her one of the most popular postcard beauties of her day.
Carmen up to Data is a musical burlesque with a score written by Meyer Lutz. Set in Seville, the piece was a spoof of Bizet's 1875 opera Carmen. The libretto was written by G. R. Sims and Henry Pettitt.
Willie Warde was an English actor, dancer, singer and choreographer. The son of a dancer, his first theatre work was with a dance company. He was engaged to arrange dances for London productions and was later cast as a comic actor in musical theatre. He was associated for over two decades with the Gaiety and Daly's theatres under the management of George Edwardes, playing in and choreographing burlesques and, later, Edwardian musical comedies. In later years he played character roles in West End comic plays.
Adrienne Adele Augarde was an English actress and singer popular for nearly a decade on both sides of the Atlantic Ocean, primarily for her roles in Edwardian musical comedy.
Development of musical theatre refers to the historical development of theatrical performance combined with music that culminated in the integrated form of modern musical theatre that combines songs, spoken dialogue, acting and dance. Although music has been a part of dramatic presentations since ancient times, modern Western musical theatre developed from several lines of antecedents that evolved over several centuries through the 18th century when the Ballad Opera and pantomime emerged in England and its colonies as the most popular forms of musical entertainment.
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